Vesalius wrote nothing about the aesthetics of the anatomical illustrations found in his De humani corporis fabrica (1543). There are, however, two passages in this work that offer a starting point for an investigation into the illustration’s idealised style. In discussing the body that is best for a public dissection Vesalius says that it must be one that resembles the ‘Canon of Polycleitus’, and later, he refers to his pursuit of the historia absoluti hominis or historia of the perfect man. (...) These two passage lie at the heart of a solution to questions concerning the style of Vesalius’s illustrations. -/- This thesis seeks to investigate the role that visual material (art) played in determining the visual character of Vesalius’s natural philosophical illustrations. In antiquity art and nature were generally thought to be opposed. This distinction was undermined in the sixteenth century as images came to play a role in acquiring and conveying knowledge about the natural world. The role that art played in determining the visual character of Vesalius’s illustrations, I argue, constitutes another facet of the undermining of the ancient opposition between art and nature that occurred in the sixteenth century. The relationship between art and nature forms the basis of my investigation into the style of Vesalius’s illustrations. -/- I examine three separate but interrelated avenues which, I suggest, played a role in determining the style of the Fabrica illustrations. The first derives from the history of natural philosophy and medicine. I suggest that the concepts art, nature, teleology, form and beauty as they are found in Plato’s Timaeus, and Marsilio Ficino’s sixteenth­century commentary on that work, provide an epistemology and account of the body that is also found in Galen’s On the Usefulness of the Parts of the Body, and subsequently reflected in both the text and illustrations of the Fabrica. This epistemological underpinning is entirely in keeping with the method of proportional representation of the body and associated aesthetic advocated in Polycleitus’s Canon. -/- The second avenue concerns the role that both ancient and Renaissance artworks played in determining the style of the Fabrica illustrations. While the illustrations embody the ideal and typical form advocated in the Canon they also embellish this, and contain stylistic features derived from Hellenistic sculpture and found in High Renaissance art. I argue for specific parallels between Hellenistic sculpture, Michelangelo’s nudes in his Sistine Chapel frescos and Vesalius’s illustrations. -/- Thirdly, I consider Renaissance artwriting and aesthetics as a source for understanding the idealised style of the Vesalian illustrations. In particular I examine Leon Battista Alberti’s tabulation of the ideal man and his aesthetic principle concinnitas. This offers a Renaissance account of beauty and the ideal that is analogous to the Canon of Polycleitus, is central to an understanding of Italian Renaissance art and aesthetics, and has a particular application to Vesalius’s illustrations and their teleological underpinnings. I suggest that contrapposto as the expression of antithesis in art offers a theoretic parallel for the augmentation of the austere classical style found in Vesalius’s own use of contrapposto and his interest in musculature and movement. -/- Throughout, this thesis is concerned with relationships between visual materials. I elaborate on this theme through an investigation of the influence that Vesalius’s illustrations had on a selection of anatomical illustrations that came in its wake. I construe the relationships that obtain between these illustrations as analogous to those which occur in what are termed art historical ‘movements’. (shrink)

Gene editing in the environment must consider uncertainty about potential benefits and risks for different populations and under different conditions. There are disagreements about the weight and balance of harms and benefits. Deliberative and community‐led approaches offer the opportunity to engage and empower diverse publics to co‐create responses and solutions to controversial policy choices in a manner that is inclusive of diverse perspectives. Stories, understood as situated accounts that reflect a person's life experiences, can enable the articulation of nuanced perspectives, (...) diversify how perspectives are communicated, encourage wider participation, open dominant perspectives to challenge, and invite participants to assess appropriate empathy and precaution in collective positions. An emphasis on storytelling in deliberations on gene editing of organisms emphasizes carefully designed recruitment and facilitation to support hearing from a range of perspectives, including those that present a different set of assumptions than those that may be held by experts or other stakeholders, among these, consideration of how to understand our relationships to nature. (shrink)

Biobanks are increasingly being created specifically for research purposes. Concomitantly, we are seeing significant and evolving shifts in research ethics in relation to biobanking. Three discrete shifts are identified in this article. The first extends the ethical focus beyond the protection of human subjects to the promotion of broader community benefits of research utilizing biobanked resources, and an expectation that these benefits will be shared. The second involves the evolution of the traditional consent paradigm for future research uses of biobanks (...) resources that are not in contemplation at the time of donation. The third involves a move away from single project management to more dynamic governance accountability to research participants and the public. These shifts may take different local and institutional forms but share common recognizable elements. (shrink)

The species of indeterminist tense logic called Peircean by A. N. Prior is proved to be recursively decidable.

The potential use, relevance, and application of AI and other technologies in the democratic process may be obvious to some. However, technological innovation and, even, its consideration may face an intuitive push-back in the form of algorithm aversion (Dietvorst et al. J Exp Psychol 144(1):114–126, 2015). In this paper, I confront this intuition and suggest that a more ‘extreme’ form of technological change in the democratic process does not necessarily result in a worse outcome in terms of the fundamental concepts (...) of democracy and the Rule of Law. To provoke further consideration and illustrate that initial intuitions regarding democratic innovation may not always be accurate, I pose and explore four ways that AI and other forms of technology could be used to augment the representative democratic process. The augmentations range from voting online to the wholesale replacement of the legislature’s human representatives with algorithms. After first noting the intuition that less invasive forms of augmented democracy may be less objectionable than more extreme forms, I go on to critically assess whether the augmentation of existing systems satisfies or enhances ideas associated with democracy and the Rule of Law (provided by Dahl and Fuller). By imagining a (not too far-fetched) future in a (not too far-removed) democratic society, my conclusion is that, when it comes to democracy and the Rule of Law, intuitions regarding technology may lead us astray. (shrink)

This is the verbatim manuscript of a paper which has circulated underground for close to thirty years, reaching a metethical conclusion close to J. L. Mackie’s by a somewhat different route.

First, we consider an argument due to Popper for maximal strength in choice of logic. We dispute this argument, taking a lead from some remarks by Susan Haack; but we defend a set of contrary considerations for minimal strength in logic. Finally, we consider the objection that Popper presupposes the distinctness of logic from science. We conclude from this that all claims to logical truth may be in equal epistemological trouble.

Is there—or rather, ought there to be—a presumption of atheism, as Antony Flew so famously argued nearly half a century ago? It is time to revisit this issue. After clarifying the concept of a presumption of atheism, I take up the evaluative question of whether there ought to be a presumption of atheism, focusing on Flew’s arguments for an affirmative answer. I conclude that Flew’s arguments, one of which rests on an analogy with the presumption of innocence, fail.

Saint Anselm’s ontological argument for the existence of God, formulated nearly a millennium ago, continues to bedevil philosophers. There is no consensus about what, if anything, is wrong with it. Some philosophers insist that the argument is invalid. Others concede its validity but insist that it is unsound. A third group of philosophers maintain that Anselm begs the question. It has been argued, for example, that Anselm’s use of the name “God” in a premise assumes (or presupposes) precisely what has (...) to be proved, namely, that God exists. Another tack is to argue that the premise that God is possible implies or presupposes the conclusion that God exists, or perhaps that, in order to know that God is possible, one must know that God exists. Just as no consensus has emerged about what, if anything, is wrong with Anselm’s argument, no consensus has emerged about whether the argument begs the question. In this essay, I focus on the second type of claim made by the third group of philosophers—the claim that Anselm’s argument begs the question by assuming, as a premise, that God is possible. In particular, I focus on the argument of the contemporary analytic philosopher William Rowe, who has claimed, since at least 1975, that Anselm’s ontological argument begs the question. I argue that Rowe’s argument fails. (shrink)

For the sentences of languages that contain operators that express the concepts of definiteness and indefiniteness, there is an unavoidable tension between a truth-theoretic semantics that delivers truth conditions for those sentences that capture their propositional contents and any model-theoretic semantics that has a story to tell about how indetifiniteness in a constituent affects the semantic value of sentences which imbed it. But semantic theories of both kinds play essential roles, so the tension needs to be resolved. I argue that (...) it is the truth theory which correctly characterises the notion of truth, per se. When we take into account the considerations required to bring model theory into harmony with truth theory, those considerations undermine the arguments standardly used to motivate supervaluational model theories designed to validate classical logic. But those considerations also show that celebration would be premature for advocates of the most frequently encountered rival approach - many-valued model theory. (shrink)

This long-awaited volume is a must-read for anyone with a serious interest in philosophy of mathematics. The book falls into two parts, with the primary focus of the first on ontology and structuralism, and the second on intuition and epistemology, though with many links between them. The style throughout involves unhurried examination from several points of view of each issue addressed, before reaching a guarded conclusion. A wealth of material is set before the reader along the way, but a reviewer (...) wishing to summarize the author's views crisply will be frustrated. The chapter-by-chapter survey below conveys at best a very incomplete and imperfect impression of the work's virtues, and even of its contents, falling short even of supplying a full menu for the banquet of food for thought that Parsons serves up to his readers. (shrink)

Philosophical Analysis in the Twentieth Century by Scott Soames reminds me of nothing so much as Lectures on Literature by Vladimir Nabokov. Both are works that arose immediately out of the needs of undergraduate teaching, yet each manages to say much of significance to knowledgeable professionals. Each indirectly provides an outline of the history of its field, through a presentation of selected major works, taken in chronological order and including items that are generally recognized as marking decisive turning points. Yet (...) neither Soames’s work nor Nabokov’s is a history in any conventional sense, both being immediately disqualified from that category by the general absence of coverage of minor and middling works and writers. The emphasis is pedagogical rather than historiographical: the emphasis is on introducing the student to the field through very close examination of the limited number of key texts selected for inclusion. The author’s distinctive personality is also apparent in both works. Each writer has a favorite theme he repeatedly sounds: for Soames, the danger of conflating the analytic, the a priori, and the necessary; for Nabokov, the philistinism of expecting an uplifting “message” from works of literary art. Each also includes some quirky, individual selections: The Right and the Good, The Strange Case of Dr. Jekyll and Mr. Hyde. Few others would have taken R. L. Stevenson to be up there with Dickens, Flaubert, and Proust, or W. D. Ross with Russell, Wittgenstein, and Quine. Each also sets aside for separate treatment elsewhere a major body of work one might have expected to be covered. Nabokov reserves Russian literature for a companion volume, while Soames gives only slight coverage to what he describes as “work in logic, the foundations of logic, and the application of logical techniques to the study of language” — a category that in practice turns out to include the bulk of the relevant material (by such writers as Frege, Carnap, and Tarski) that published originally in German without simultaneous English translation.. (shrink)

This essay argues that in retrieving the new martyrs and confessors, the approximately two thousand people who suffered directly for their faith under Soviet communist oppression, the Russian Orthodox Church has made publicly available symbols and narratives that bear democratizing potential. The Church's "Icon of the New Martyrs and Confessors" can be interpreted as calling for broad representation of all parts of society in Church and political life, and freedom of the Church to represent its concerns to society without state (...) interference. Although these two principles do not by themselves dictate a particular form of government, a liberal democracy may be their best guarantor. The Russian Orthodox Church therefore need not be seen as essentially antidemocratic. Its symbols and narratives of suffering can also be understood as authorizing democratic reform. (shrink)

A. W. Verrall considers rightly that the scene at Thebaid I 2. 481 ff. is ‘the cardinal point of the whole poem’. I hope to show that Statius has portrayed the goddess Clementia as a force which functions in a way very different from that which his readers would expect from their experience of the usage of the word clementia and that his new portrayal is closely related to a theme of the poem. I shall suggest that his redefinition of (...) the concept was inspired by the political situation in which he found himself. The Altar of Mercy focuses Statius' thoughts on the position of man in the universe and of the individual in society, and coming as it does after eleven books of disaster offers some comfort to man in his suffering. Statius is concerned in the Thebaid with man as a tragic victim, and the Altar of Mercy affords him comfort precisely in that area in which he most seeks it. (shrink)

A. W. Verrall considers rightly that the scene at Thebaid I 2. 481 ff. is ‘the cardinal point of the whole poem’. I hope to show that Statius has portrayed the goddess Clementia as a force which functions in a way very different from that which his readers would expect from their experience of the usage of the word clementia and that his new portrayal is closely related to a theme of the poem. I shall suggest that his redefinition of (...) the concept was inspired by the political situation in which he found himself. The Altar of Mercy focuses Statius' thoughts on the position of man in the universe and of the individual in society, and coming as it does after eleven books of disaster offers some comfort to man in his suffering. Statius is concerned in the Thebaid with man as a tragic victim, and the Altar of Mercy affords him comfort precisely in that area in which he most seeks it. (shrink)